/kloc-in 0/4, Ou Yangyuqian went to Dalian, Shenyang and other places to give lectures on popular art to local drama circles and young people who like new dramas and spread modern dramas. Zhang Guangqi (female), an underground worker in party member, Shenyang, and female teachers and students participated in the drama troupe organized by the Fengtian YMCA, and performed plays such as The Story of Qiu Jin and Xu Xilin, Peacock Flying Southeast, Whose Crime and Marriage Proposal. Ou Yangyuqian and Zhang Guangqi also performed "The Fan of a Rich Family" and "After Going Home" on the same stage. In February of the same year, at the invitation of Dalian China Youth Association, Ou Yangyuqian gave a lecture on "The Road to Drama Reform in China". Amateur drama groups have been organized all over Liaoning, and their performances are very active. 19 19 (8 years of the Republic of China), Chen Dabei, Ou Yangyuqian and others loudly put forward the slogan of "loving American drama" (amateur drama, from amateur to amateur), and successively established drama groups such as People's Drama Society, Heart Drama Society and Nanguo Society; During the May 4th New Culture Movement, Hu Shi, Chen Duxiu, Fu Sinian and others paid special attention to the power of the new drama to people's consciousness and praised Ibsen's social drama. In the same year, Hu Shi published a one-act play "Lifelong Event" as their representative. A number of outstanding plays such as Tiger Catching Night, Death of Famous Brand (Tian Han), Three Rebellious Women (Guo Moruo), Patriotism (Xiong Foxi), Bitch (Ou Yangyuqian) and A Bumblebee (Ding Xilin) were born, which laid an important literary foundation for China's plays. From 65438 to 0922, Hong Shen, who studied in the United States and specialized in drama, returned to China to join the Dramatists Association. In view of the bad habits of civilized drama, he boldly reformed the establishment of script, stage discipline and director system, advocated co-acting between men and women, and formed a complete drama art system. 1925 the establishment of the drama department of Beijing institute of art provided a position for the cultivation of drama talents. 1924- 1930, many anti-imperialist and anti-feudal plays were staged successively, and a number of artistic backbones such as Chen Ningqiu, Chen, Zheng, cutie and Wu Zuoren were trained. The southern art movement led by Tian Han can best reflect the spirit of the emerging drama in the 1920s.
1926 (15) In February, the first official drama club in Liaoning Province, Aimei Drama Club, was formally established in Dalian, with Ma Dianyuan as the president, Lu as the director. 1927 (Republic of China 16) In May, Amy Drama Club was invited by the Chinese YMCA to perform in the YMCA auditorium (in today's Democracy Square) to prepare for the civic education fund, and staged a drama reflecting the contradiction between family and society, such as "The Legacy of the Millennium". 65438+In September 2008, Che organized the "Fengtian Student Civilian Service Group" to perform plays such as "Improved Hospital" and "Blind Road" in Hantun, a suburb of Fengtian.
1928, Hong Shen creatively translated English drama into "drama" to distinguish it from the stale "new drama", hence the name of China's drama. From 1929 to 193 1, Ou Yangyuqian presided over the Guangdong Theatre Research Institute, published Drama magazine and organized dozens of plays such as Roar, China. Ou Yangyuqian, Hong Shen and Tian Han are considered as the founders of China's plays. 1937 after the outbreak of War of Resistance against Japanese Aggression, China's drama began a stage of great popularization, development and prosperity. 1937 After the July 7th Incident, the dramatist staged Defending the Lugou Bridge in Shanghai on August 7th of that year, and quickly formed a 13 national salvation drama team to publicize the Anti-Japanese War. 1937 12 3 1 All-China Theatre Anti-Japanese Association was established in Wuhan. In the summer of 1938, the progressive dramatists gathered in Wuhan, under the leadership of the Third Hall of the Political Department of the Military Commission of the National Government, formed the 10 Anti-Japanese Drama Team, the 4 Anti-Japanese Propaganda Team and the 1 Children's Drama Troupe, and went to various war zones to combine with the drama groups spontaneously organized by various places and the drama performances in the anti-Japanese base areas, and the publicity performances spread all over the country, forming an unprecedented and magnificent popularization situation. 1938 10 the first drama festival staged "the story of the nation" written by Cao Yu and Song Zhi, which was a sensation and was a representative of the drama in this period.
After 1939, the focus of drama movement began to shift to the city, and influential professional troupes such as China Viva Troupe, CLP Troupe and Central Youth Drama Club were established in Chongqing, with theatrical performances. A number of outstanding repertoires have been produced, such as One Year (Xia Yan), Country First (Lao She and Song Zhi), Night on the Beach (Yuling) and Fog in Chongqing (Song Zhi). 1In the summer of 939 (in the 28th year of the Republic of China), Jin Shanlong, Yang Ruozhu, Wang Zongren and others founded Shenyang Amateur Drama Troupe and staged Ding Xilin's ten-act drama "Tired of Having No Wife". Later, the troupe merged with Fengtian Repertory Theatre and changed its name to International Theatre. In the Heather International Theatre (now Liaoyi Theatre), several plays such as The Butcher, The Fire on the Plug, Late at Night and Lifeline directed by Li Qiao and Jin Shanlong have been staged successively. After that, Zhuanghe County Girls' National High School performed Harmonious Family and Home, Benxi Xu wrote and performed the drama Love Trilogy, and Anshan progressive writer Yan Lifu organized a multi-voice drama troupe to perform the drama Alert.
194 1 The China Dramatic Art Club and 1943' s China Dramatic Art Club have brought new features to commercial performances. 194 1 to 1945, various troupes in Chongqing performed Qu Yuan (Guo Moruo), Beijingers (Cao Yu), Spring and Autumn of Heaven (Yang Hansheng), Fascist Fungi () and Drama Spring and Autumn (,Yuling, Song from February to April,1. A large number of art groups and propaganda teams, such as the Drama Department of Lu Xun Art College, Yan 'an Youth Art Theatre and Northwest Field Service Corps, were established on a large scale, and dramas such as Liu Duichang (acted the role) and Comrade, you are going the wrong way (Yao) were launched. ) and Li Guorui (Du Feng) are active in the countryside and the army, highlighting the fighting tradition of China's drama.
During this period, the puppet regime established three royal troupes: Datong Troupe (Changchun), Harbin Troupe and Fengtian Concord Troupe, all of which belonged to the Puppet Manchuria Concord. Founded on September 27th, 2000, "Fengtian Concord Troupe" has more than 100 members, and "shoulders the great mission of completing Concord culture". The hosts Du Yuan (chairman of the Puppet Manchukuo Troupe Association) and Rui He are all Japanese. It was held in June165438+1October, and the play was Singing in the Night. In June, 2008, he performed for the first time. His repertoires included "Donggong Dazuo" and "In the Ranch". In June 5438+February of the same year, a touring university performance was held, with plays such as Joining the Army and Hot Blood Track. These plays are all in praise of the Japanese invaders. By the end of the 1930s, the troupe had created and performed more than 20 plays. During the 30-32 years of the Republic of China, the troupe performed Thunderstorm, Germination and Sexy Devil in major cities in Northeast China. In 3 1 (1942), the famous Soviet drama "Roar, China" was staged in Fengtian, exposing the criminal history of British and American imperialism invading China. The original intention of the Japanese to perform this drama is to publicize the evil of the British and American powers occupying China and arouse the hatred of the people of China against the British and American imperialism. However, contrary to expectations, it aroused the overwhelming hatred of the audience against the Japanese invaders, and the masses rushed to watch, with an unprecedented attendance rate. This greatly frightened the Japanese and puppet rulers and immediately ordered to stop the performance. In addition, the Japanese Puppet also organized troupes in major cities in Liaoning to serve the Japanese aggressors, such as Concord Troupe (Dalian) and Concord Museum Troupe (Anton). After the recovery of Northeast China in the "August 15" period, these troupes disintegrated one after another. During the war of liberation, drama activities were at a low ebb. Before and after Tomb-Sweeping Day (Mao Dun), Sales Map (Chen) and Second Road (Tian Han) are important achievements in this period.
In the early days of the Liberation War, the China Production Party sent a large number of revolutionary literary and art workers to the northeast and set up some cultural and art troupes in Liaoning. Wherever these literary and art groups go, they perform cultural programs and do mass work, helping local cultural and art groups and teams to be actively established. He directed and performed a large number of live news dramas and short plays, which laid a solid foundation for the development of new dramas in Northeast China and Liaoning. At the same time, some folk drama groups have also formed in Shenyang, Dalian and Anton. They are self-financing and voluntary private professional troupes, such as Dalian Dongyi Troupe, Guangfu Troupe, Zhongqing Troupe, Liaodong Troupe, Dalian Troupe, Sino-Soviet Friendship Troupe, etc., and have performed Young at Night, Blood Debt, Haitang and Powerful Mountains and Rivers successively. At the same time, the "political task force" of the Kuomintang army and some drama groups run by the Kuomintang once dominated the drama stage in Liaoning, especially in major cities. They performed reactionary plays such as Tian Zi No.1 and Wild Rose in Shenyang, Dalian and Anton, and also performed Thunderstorm and Sunrise. The Chinese Dramatists Association (later renamed Chinese Dramatists Association) was established in July 1949, and China drama began a new stage of development. After the founding of New China, the Party and the government attached great importance to the development of drama, and successively established China Youth Art Theatre, Beijing People's Art Theatre, Central Theatre Academy, Shanghai Theatre Academy, China People's Liberation Army General Political Department Drama Troupe and professional drama troupes in various provinces, autonomous regions and military regions.
1949 At the end of the year, Lao She came back from the United States and saw that the new Beijing in new China was full of new look. As an old Beijinger and a historical witness, he sincerely felt a feeling of being turned upside down. So I wrote Longxugou. Through the changes of Longxugou, a famous stinking ditch in Beijing, and the sharp contrast of the different fates of three families living in a small miscellaneous courtyard near the ditch before and after liberation, it shows the new life brought by the * * * production party to Beijingers and writes a new spiritual outlook of Beijingers.
After the founding of New China, a large number of outstanding plays such as Longxugou, Teahouse (Lao She), Cai Wenji (Guo Moruo), Guan Hanqing (Tian Han), Wanshui Qian Shan (Chen) and Ma (Ren Deyao) emerged. The Teahouse directed by Jiao Juyin embodies the nationalization pursuit of drama, while The Bold Mother and Her Children directed by Huang introduces Brecht's drama thoughts. In ethnic minority areas with weak cultural foundation, drama performances by Uighurs, Mongolians, Koreans and Tibetans have appeared since 1950s, which has expanded the field of drama art. With the discussion and implementation of the policy of "letting a hundred flowers blossom" in the literary and art circles, 1962 has seen outstanding plays such as Sentinel under Neon Lights (played by Shen Ximeng) and Young Generation (played by Chen Yun).
The establishment of New China has brought the people of China the joy of liberation and the happiness of being masters of their own affairs. Although, on the cultural and ideological front, there have been "left" influences; However, because the people of China have won national unity, peace and improvement of life in the past century, literature and art, including drama, have also ushered in a thriving spring. By 1956, the development of drama reached its climax at the first national drama viewing conference. Over the past decades, the drama industry has developed rapidly, and a number of actors who enjoy high reputation both inside and outside the province have been trained.
The people of China have washed away the muddy waters of feudalism and swept away the disasters caused by imperialist aggression. Once they are masters of their own house, they will glow with amazing creativity and make the new China as fast as a whip. In a few years, it will be a new look and a new world. With its sensitivity to the times, drama has created some scripts that reflect this new look. Such as Liu Lianying, Liudaomen, Longxugou, Shangyu and the spring breeze blowing across the Nuo Min River. Most of these plays show people's real life and their feelings about the new era. Some writers of these plays come from the front line of production.
After the Third Plenary Session of the 11th CPC Central Committee, China's drama entered a new period of development. He made extensive and in-depth explorations in breaking through the limitations of the old stage, innovating the concept of drama and enriching the artistic expression of drama. Attempts in drama creation, such as no-drama structure, idealized image-building, plot and vague theme jumping in time and space, use of masks, neutral costumes, geometric scenery props, laser lighting, breaking the fourth wall, shortening the distance from the audience, and all-round audience, have attracted the attention of drama theorists. A discussion on the innovation of drama concept and form has played a good role in the development of China's drama. In the new era, drama is also more open. Since 1986, Shakespeare Drama Festival and O 'Neill Drama Festival have been successfully held. Teahouse by Peking man has been performed in Europe, America and Japan for many times, and King Oedipus by Central Academy of Drama has been a great success, which is a good start for China's drama to go global.